Raf Simons is often eerily prescient. He couldn’t have known that truculent protestors would derail half the British press travelling to Paris on the day of his spring/summer 2016 show, by setting a fire at the French mouth of the Eurostar tunnel. Yet somehow, it fits. Simons clothes are about unrest. I don’t mean they’re physically uncomfortable, but they do have a sense of unease about them, even if its just in the watching. For spring, trousers swamped skinny legs with excess fabric, bodies were smothered in oversized coats peppered with buckshots of eyelets, and faces all but concealed by hoods tugged tight, pulled all the way down, in the fashion banned by many suburban shopping centres to avoid anti-social behaviour.
So Zac Posen – largely known as purveyor of expansive, expensive ballgowns – is reputed to be helming Harvey Weinstein’s revival of the Charles James label – largely known for its expansive, expensive ball gowns. The perfect fit, right? Well, certainly a close fit. There’s a synchronicity between Posen’s output and that of James that has frequently been highlighted. He was the obvious choice to discuss the designer around the Metropolitan Museum show “Beyond Fashion.” He did so at the Met itself, with exhibition co-curator Jan Glier Reeder, as well as in an avalanche of articles (including one for me). He’s also the obvious choice to revive the label. Doesn’t mean he’s the best choice, though.
The third day of my Paris fashion week – the fourth overall – has just finished. Raf Simons showed his latest collection for Christian Dior this afternoon. The major editors are out in force. The week has truly begun.
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